〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗

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〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗
Music for the Vihuela（维埃拉琴相关音乐作品）
　　In many ways, the vihuela was the instrument of this period closest to the modern guitar. Its shape was similar, although its body was somewhat smaller and thinner. Its six strings were paired in unison for extra resonance, much like the twelve-string guitar of today, and these pairs are known as "courses."
　　The vihuela tuning varies from the modern guitar only in the tuning of the third string, which was tuned a semitone lower. Thus by tuning the guitar G string down to FH it is possible to read original music directly.
　　The actual pitch of the vihuela varied; it ranged from Luis Milan's vague instruction to tune the top string "as high as it will go" to more specific recommendations by the other composers. The range of the top string appears to have been from the E of the modern guitar to an A a fourth higher, though the latter tuning was probably reserved to smaller instruments of shorter string length.
　　The printed literature exists in eight books which include solo songs and arrangements of choral works, as well as instrumental solos. These works are Luis Milan's El maestro (1536); Luis de Narvaez's Los seys libros del Delphin (1538); Alonso de Mu-darra's Tres libros de musica en cifra para vihuela (1546); Enriquez de Valderrabano's Silva de Sirenas (1547); Diego Pisador's Libro de musica de vihuela (1552); Miguel de Fuenllana's Orphenica lyra (1554); Juan Bermudo's Declaration de instrumentos (1555); and Esteban Daza's El Parnaso (1576).
　　Many of the extended pieces which appear in these books are not particularly suitable for modern performance since they tend to amble on in a quite pleasant but not very striking fashion. However, there are some notable exceptions, particularly Mu-darra's "Fantasia," in which he imitates the style of a famous harpist of the day, Ludo-vico. This is reproduced on p.108. Valderrabano is represented by his "Sonnet" on p. 39 which has the charm and feeling of a lullaby. Vocal works include Milan's "Toda mi vida os ame" p. 56 , for which two accompaniments are given. Against the simple accompaniment the singer would elaborate the vocal line (hacer garganta), but when the guitarist played the ornamental accompaniment the singer would keep to the written notes (cantar llano). "Morenica de me un beso" p. 68 by Juan Vasquez, which is found in Fuenllana's Orphenica lyra, has great charm and gaiety, and his songs in general stand out as the most interesting of the period.
　　The vihuela music in these books is printed in tablature rather than conventional musical notation. The six courses of the vihuela are each represented by a line, and a number on the line indicates the fret to be played. The time is indicated above the lines.
　　The later books used the same form of notation, except that the highest string was represented by the bottom rather than the top line. Milan's arrangement corresponds to French lute tabulature, although the French used letters rather than numbers. The form used by other vihuela composers corresponds to Italian lute tabulature.
　　The example shown from Narvaez's "Guardame las vacas" illustrates the Italian form. The full transcription of this piece appears on p. 78 ; it is an interesting and melodious example of the earliest form of theme and variations.
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〖The Renaissance Guitar (文艺复兴时期的吉他音乐，Frederic Noad)〗